01. Instrumental 02. Victim Or The Crime 03. Blow Away 04. Believe It Or Not 05. Gentlemen, Start Your Engines 06. Built To Last 07. I Will Take You Home 08. Victim or The Crime 09. Instrumental 2 10. Instrumental 3
"The Inn By The Sea" tape; This tape was left in a room occupied
by The Grateful Dead at "The Inn By The Sea," Cape Elizabeth, Maine when they were
doing the July 2 and 3, 1988 at Oxford Plains, Maine; Recorded at Club Front?; SBD>DAT>CT>CD>EAC>SHN; shn(1)>cda(1)
June 1, 2018 Subject:
The universe still works tonight
Between SPAC and Oxford I was a pretty happy camper Summer of 1988.
This is a good representation of what at the time were the Dead's new tunes.
I think it would be fair to say that Brent became a true frontman around this time. His songs are still endearing to me all these years later.
No point in comparing Apples to Oranges
"Say no more, just be still"
Brent was a pretty good keyboardist. In fact, because Keith didn't or wouldn't get past the piano or the occasional organ usage, the Dead finally, since they wanted to upgrade to the times, kicked his poor self out, and then he died... (Sound familiar? Brian Jones anyone?) Anyway, besides his talent as a great and wonderful keyboardists who added lots of color to the Dead's repertoire, Mydland was, at best, a "Middlin'" lyricist. I'm sorry, but, I never did think much at all of "Tons of Steel" or "Push Comes to Shove" -I know I'm missing a couple here, but, mostly, when I think of Brent's contributions, "Tons of Steel" always comes to mind - and I just never liked that song. It just, I can't really explain it, at least not in a concise way, didn't fit with the almost surrealistic, non-topical, have-a-good-time jams The Dead were at their best on - think "Pigpen era" - "Viola Lee Blues" or his trademark LONG versions of "Lovelight", etc. or Bobby's "The Other One" and again, Pigpen's "Alligator" - great stuff that just blows you away. The only thing I can think of that started appearing in the "Brent-era" -and I don't know if Brent wrote these or not, were the two songs that always got played side by side in concert: the awesome, beautiful melodies of "Lost Sailor"/"Saint of Circumstance"- I like to find early 80s (83-85) versions of tapes w/those on them. But, when we get to, like, 1990+ they start doing things, like "Touch of Gray" (I don't care if it's spelled "GREY"-that is not how I spell it-I'm not in the UK!!)-I know that song predates In the Dark by about 5-7 years at least, but, and especially the studio version- gawd, that song is, well, I thought it was corny. OK? Maybe others disagree-that's cool. But I didn't like it. I did dig "Throwing Stones" and then, when I saw them in 89 (or did they start doing it when I saw 'em in 88?), "Victim or the Crime", which seemed to come out of left field, since it wasn't from any album (that I know of -this was at least a year or 2 after In the Dark came out-maybe it was a tune that didn't make it on that album-but -tell you what: I would've left off "Touch of Gray" or "Tons of Steel" and included "Victim or the Crime" instead. The 1st time I heard that, I was at an Alpine Valley show-and, I'm sure it wasn't me, cuz I saw some other surprised looking faces, as if wondering "where the heck did this come from" -not being critical or anything - I liked it- and then I heard it again -if that was 88, then heard it again next year, in 89. Also -by this time (89) Jerry & Bob, et al, had the whole "MIDI" thing worked into the "Space" jams and probably had a guitar synthesizer, like the kind that Adrian Belew & Robert Fripp have been using since the mid-80s, wherein you can make your guitar sound like a keyboard. And, of course the 2 drummers were really going whole hog w/the whole "Drums" section, w/these huge tom-toms which they had to get up and bash w/big mallet-type things, and more and more percussive instruments that were so fasciating. I just wish that they'd gone back to doing more stuff like they did in the 70s instead of begin doing all these incongruous cover songs: "Dear Mr. Fantasy", "Revolution", "Satisfaction", "Dear Prudence" -songs which are good in themselves, but which didn't quite fit the Dead's style. A kind of updated "Other One" or even "The Eleven" and more "Jam-oriented" stuff would've made things so much more sweet!
May 20, 2012 Subject:
didnt play Gentleman enough live, review would be 5 stars, but i hate bobby tunes.
I'll be pandraggin' Vine Hill just for you this month.
June 12, 2009 Subject:
JBOY must be high
JBOY says: "By '89 there can be no doubt that Brent had surpassed even Hunter as creating the most emotionally devestating GD music of the 80s."
One of the most ridiculous lines I have ever heard. Brent's tunes (in general) just never really fit the Dead. To say he surpassed Hunter at anytime or point is beyond laughable. But you can believe that if you like
June 1, 2008 Subject:
Too much information par usual, J-Boy.
Do we really need to hear that Victim or the Crime is one of your "sex" mix cuts, J-Boy?? This is your most absolute cringe-worthy bit of verbal flatulence, I have had the mixed pleasure of coming across as of yet! congratulations, you have thoroughly nauseated me on this fine spring morning!! Kudos, my friend! ;) For all you who wonder if J-Boy's reviews are their own proverbial "victim or the crime", this is one of the all-stars!! As for the music here......don't miss it!!
April 11, 2008 Subject:
...but we don't think so....
September 7, 2006 Subject:
i'm gonna venture a guess, Thats Wavey gravey doing the poetic verse, This is a very interesting find. Jerry's voice mix, and cymbols stand out for me. Great mix on built To last too better than the album.
How do you like your blue eyed boy NOW?
One of the last of
great white Buffaloes.
September 7, 2006 Subject:
barbed wire whipping party could be the single most f'd up thing i have ever heard in my entire life... and who was the vocals on this? it didnt sound like kesey..
December 16, 2005 Subject:
A Must Listen... A Wonderful set of goodies
Was this purposefully recorded as studio outtakes or is it truly an accident that they were found? Perhaps these sessions would be ideal for release as part of the Dead's 'Unsurpassed' series. (For those not familiar, these releases were a compliation of unheard studio cuts along with rare live performances and other oddities. Most of the 'Unsurpassed' (bootleg?) volumes cover the Dead's releases from '68 throughout the 70s.)
Anyways, this "Instrumental" is of interest because although its melody is unrecognizable, it's obviously been constructed as a theme to a song maybe still to be 'lyriczied.' Hmmmm... I'm sorry but I think any haters of "Victim" are totally off-base. It's one of Bobby's sexiest excursions into a self-immolation hellhole. This version appears to lessen Brent's synth work in the mix, and I approve. Jerry's menacing counter to Bobby's words dramatically increase the stakes. Would you think less of me knowing that this horrifying slice of torment and misery is one of my 'sex' mixes. Brent's songwriting was not the most sophisticated, but there is no doubt that his work on 'Built' was the best of his career. "Blow Away" is an example of how emotionally poignant his stuff could be. The beginning of "Believe it or Not" sounded like the Ohio Players' "Life in the Time of Money." (Think 'New Jack City.') Jerry's very Dylanesque in singing this touching version. "Gentleman" is swampy and sleazy befitting an employee of Enron. Brent should have lessened his inner 'Doobie' "Built" is compact and the 'Push' of thia album. By '89 there can be no doubt that Brent had surpassed even Hunter as creating the most emotionally devestating GD music of the 80s. "I Will Take You Home" is a direct, urgent, clunky, but endearingly so...reassurance of Daddy's vulnerabilities and demons that would end up swallowing him...
2nd Set: As a tribute to those sad, depressing, isolating songs that stood out as the most impressive of the Dead's career, ("Bird Song" "China Doll" "Stella Blue") the '1st set' will end on Brent's touching ode to his soon to be neglected children. "Victim" is performed, and although the end is stark, I prefer the first version more. The "Instrumental 2 & 3"'s audio comes and goes...was it intended as the same song as the former? Barlow's voice accompanies "Shit Happens" whose theme appears similiar to the vibe Brent was attempting for his 'Built' work. A Walshian slide gutiar reminiscent of 'Walkin' work on these two "Jam."'s Oh my goodness, this "Barbed Wire Whipping Party" is so magnificently infernal. Who's voice is this: Kesey or Cassidy? Had to be from an Acid inspired Human Be-in. Awesomeness!!!
Wowsers, an incredible journey.
4 1/4 stars
November 20, 2005 Subject:
I think its Miller Time fellas. What do you say we all turn up the reverb to 11, put on some giant sunglasses and talk about how cool that Dire Straits album is?
How does Bobby manage to turn the word "crime", entirely monosylabbic into a pentasyllabic one..."cri-a-hi-ee-im". Its damn near SanFranny Hebrew, Bobby.
Gotta give them a 4 for sound and novelty Chuck.
Thanks Jaye P.
September 5, 2005 Subject:
Love this I especially Love the instrumentals!, Brents playing shines thru on this !!!!!!!!
July 7, 2005 Subject:
More than one tape flutter, but i got a whole box full of that fun. It was a good play during the cribbage game. Never quite figured why Brent never found a better mike or was it Dan at the wheel?
All in all, what's there not to like.
May 18, 2005 Subject:
Inn by the sea
Always thought this was a nice tape of some studio material, shit happens is the chorus to "It doesn't Matter."